impossible discsThis article, the first of a projected series of three, surveys part of the Opera Queen's beloved Land of It-Might-Have- Been. I submit for your fascination a selective account of how the best-laid plans of the recording studios have often not followed the courses originally envisioned for them. Recalling tidbits from magazines like High Fidelity and Gramophone, diva bios, books like Ring Resounding, and, of course, the usual rumor mill (our second-favorite oral tradition), I shall reveal casting choices which were planned or promised for major recordings but never came to pass. Now, proposals like a Fischer-Dieskau Siegmund, a Caballe Abigaille or a Freni Turandot, which the artists may have considered for a moment but generally were to reject in short order (leaving us with, in descending order of felicity, James King, Ghena Dimitrova and Katia Ricciarelli), are not the order of the day here. Though I can in many cases cite which issue of Opera News or which chapter of Demented gave me the information I provide, some of what I offer here has been passed along less formally; moreover, even some of the stuff in print may be less than trustworthy (the pipe dream issue again), and in any case this topic is by its nature fairly subjective. I hope to hear from parterre box readers which tasty items I have missed and which details you feel should be clarified ... A third article in this series will, among other
things, discuss complete opera sets which were planned,
begun or even completed without ever (as of this
writing) seeing release. (The Sutherland/Pavarotti
Ernani Decca just issued over a DECADE after being
recorded would have been a prime candidate here, but
never fear! -- there are many others like it.) For the
first two, however, I shall focus on casting changes,
dreaming of the day I write a similar study about the
Silver Screen. (Did you know that Mandy Patinkin was
fired from Mike Nichols' Heartburn after one
day's shoot, to be replaced by Jack Nicholson? or
that Miss Joan Crawford was originally signed for
From Here to Eternity, only to be passed over when
she pushed too hard in salary negotiations? But
that's another article ...) THOSE THREE TENORS Before they were busting a gut or ten in
their overblown stadium appearances, sometimes it seems
like these gentlemen have spent nearly as much time
giving up (or being fired from) studio recordings, only
to be replaced by others. To be fair, Placido Domingo
(here as elsewhere), actually comes off as Mr. Nice Guy
a few times, rescuing the second Scotto
Butterfly when Giacomo Aragall dropped and, quite
late in the gameNeil Shicoff cancelled (or was it the
other way round?). Not his best recording, but he flew
in on something like 24 hours' notice, so cut him
some slack! Similarly, the Bernstein Messa da
requiem, recorded for both audio and video, was one
of the young Domingo's many appearances as a
substitute for Franco Corelli: he did this many times
onstage, but this is the only recording I know which he
took for an indisposed or unwilling Franco. (Carlo
Bergonzi did the same on the Gardelli Forza, and
I for one am thrilled he did.) One last Domingo departure -- from the cancellation-prone DG West Side Story -- brings us to Jose Carreras, who recorded the part after Neil Shicoff and Francisco Araiza also proved unavailable. (Jerry Hadley, who would have been ideal, was at the time not considered enough of a "name"; any word on the more recent recording he and the perennially perky Dawn Upshaw were supposed to have made? Other changes here involved Marilyn Horne, originally considered for Anita, replacing Jessye Norman in "Somewhere" (though Jessye later recorded the solo anyway over Bernstein's orchestral tracks!) and Tatiana Troyanos taking Anita. I've even heard tell that Dame Kiri Te Kanawa was a replacement Maria, but I have no idea for whom ...) Mr. Carreras, whose illness delayed the Philips La juive (which he eventually completed, more than respectably), did not make his originally announced appearance in the Mehta Traviata with Dame Kiri and Dmitri Hvorostovsky; Alfredo Kraus, that soul of youthful vigor who in better days had already graced two recordings of the opera for EMI, was apparently the only tenor anyone could find, and he thus enjoys the unusual distinction of being the only Alfredo on disc (or perhaps anywhere) nearly twice his "father's" age. As for Luciano Pavarotti, well, it turns out he has been the best citizen of all when it comes to actually making it through the recordings he has signed for; no doubt this has something to do with his being the most exclusively contracted of the Three. His recordings may take a while to appear (Ernani, the second Trovatore, maybe even the mysterious third Rigoletto, recorded with the Met for DG), but once announced, they do tend to surface eventually. So I'll close this section with a weird coda: did you know that Pavarotti was once announced to sing Count Almaviva on the second Abbado/DG Barbiere? As if the Domingo Figaro wasn't a weird enough idea ... Well, anyway, in the event the much-more-suitable Frank Lopardo took the part, sounding tonally darker than his (tenor) Figaro but making neat work of his difficult arias. To continue for a moment with tenors already mentioned: Another recording windfall came Frank Lopardo's way when Vinson Cole proved to be unavailable for the Solti Cosi remake. Neil Shicoff disappeared not only from the Maazel Butterfly discussed but also from the Rizzi Faust (Jerry Hadley filled in) and the Haitink Rosenkavalier (Richard Leech deputized). In both cases, I'm rather glad of the replacements. Franco Corelli's withdrawal from the Gardelli Forza meant he was declining his second chance to record that opera commercially, as he had already yielded the Schippers set to Richard Tucker. Mr. Tucker was therefore recording that opera for the second, better time; compare how personal problems and/or disagreements (details vary depending upon whom one asks) saw Jussi Bjoerling withdraw from Solti's first Ballo recording even though taping had begun; Carlo Bergonzi replaced him and, as Domingo later would, ended up recording the whole opera twice within six years. As with Tucker's two Forza sets, separated by a decade, the second is preferable in just about every respect. Sadly, this was the second Ballo recording Mr. Bjoerling should have graced but did not, as the Toscanini set was also originally intended for him. (Jan Peerce was the substitute in that case.) Mr. Corelli also was meant for the von Matacic Fanciulla, which must be among the most recast sets, what with Birgit Nilsson filling in for Maria Callas, Joao Gibin replacing Corelli and Andrea Mongelli subbing for Tito Gobbi! Only three other opera sets come to mind as having had so many changes: the Beecham Zauberfloete (which saw Richard Tauber, Herbert Janssen and Alexander Kipnis replaced by Helge Roswaenge, Walter Grossmann and Wilhelm Strienz), the first Solti Meistersinger (which lost Gundula Janowitz, Alberto Remedios, Dietrich Fischer-Dieskau and Karl Ridderbusch for Hannelore Bode (did ever Evchen deserve two recordings less?), Rene Kollo, Bernd Weikl and Norman Bailey) and the Serafin Otello (see the end of this section). Casting the tenor parts in Wagner opera recordings
has always been a problem, of course. The most famous
example must be poor Ernst Kozub, in whom the gap
between natural vocal endowment and depth of artistry
was, it seems, staggeringly broad. Try though they
might, Solti and the Decca engineers could not coax a
respectable Siegfried out of him, despite all the time
and effort expended in the effort. In the end, they
persuaded him to let them dissolve his contract, and
Wolfgang Windgassen replaced him on both
Siegfried and (later)
Goetterdaemmerung. Three other replacements bear mention before we survey the lower-voiced men. Fritz Wunderlich's untimely death brought Peter Schreier to the first Boehm/DG Don Giovanni (an unhappy recording all round, in the event). More pleasantly, Michael Sylvester was replaced on the Conlon Oberon by Ben Heppner. And most curiously, the reason a young Jon Vickers was asked to record Otello with Tullio Serafin even though he had yet to assume the part onstage was because the original project -- a Fritz Reiner Otello with Jussi Bjoerling (who would have likewise been making his role debut) and Victoria de los Angeles -- had all but evaporated. (Leonie Rysanek, who would disappear from other RCA Verdi recordings around that time, sang Desdemona.) I have comparatively little detail about
cancellations involving baritones and basses. Do they
tend to be less temperamental, or is my own diva
fixation preventing me from remembering stories about
these gentlemen? I leave the matter for you to judge!
In any case, the first of our two cancelling basses is
Samuel Ramey, with two stories to his credit. First,
though he was once mentioned as a participant in the
aforementioned Bonynge Ernani, the recording
came out with ... Paata Burchuladze. More recently, he
withdrew from the Abbado Figaro (which would
have offered his first-ever Count Almaviva) and was
hastily replaced with Boje Skovhus, who ended up
contributing one of the few selling points of this
disappointing recording. All the diva stories you could want along
these lines, including at least five Caballe
replacements and three each for Rysanek and Stratas!
(And in the third installment, revealed at last: what
ever happened to that Giulini/DG Traviata with Rosalind
Plowright?) -- in part two.
Ortrud Maxwell This article originally appeared in parterre box, the queer opera
zine. |